Saxophone beginners Overtones (harmonics)

[Ivan]

I use a technique taught by @aldevis

Play e.g. the B3 note, then finger low B(1) and try to maintain the higher note

It's remarkably effective at moulding the embouchure, including throat manoeuvres. I find it a reliable way to voice the overtones. If I leap up from the low notes I have less idea where I am. To me it's like leaping across a stream with or without my eyes open.

 

[Colin the Bear]

Regulation is a cinch

View: https://youtu.be/PQyz34KZviM

 

[Ivan]

You Rang Sir?

Ding-a-ling

6th – fii

Wot is that word?

 

[6441]

Good advice, @Ivan @Keep Blowing. What you are both referring to is called The Switcheroo in a video I found before posting.
I got it to work once, but then that was with a particular reed and mouthpiece. I will try again, in fact I try it each session.

 

[6441]

This actually does seem to improve my chances 😛
Got it a few times on Bb and B and once or twice alone, without the switcheroo.

 

[jbtsax]

A standing wave develops a sort of "inertia" at the frequency it is vibrating at. This creates a sort of "resistance" to change. For example when playing A=880 concert and then releasing the octave key, the pitch does not instantly drop back to A=440. It does seem to switch more easily from low to high rather than from high to low. This is mostly true for conical instruments like saxophones. The cylindrical clarinet which only produces odd numbered overtones makes register leaps more smoothly.

 

[Ivan]

]

This actually does seem to improve my chances 😛
Got it a few times on Bb and B and once or twice alone, without the switcheroo.

...and there's C and C# for interest

On my tenor those two notes cross to the low fingering more readily than B and Bb but the converse is true (including A) on baritone... dunno why

I haven't tried flipping other harmonics this way yet, but it would seem a logical thing to attempt

 

[jbtsax]

Chris Hemingway of the New Century Sax Quartet makes it sound easy.

 

[Keep Blowing]

Chris Hemingway of the New Century Sax Quartet makes it sound easy.

Very interesting, I love playing overtones,. Nothing to that extent though. It's a bit like Roger Bannister and the 4 minute mile, once you know it can be done

 

[6441]

]

...and there's C and C# for interest

On my tenor those two notes cross to the low fingering more readily than B and Bb but the converse is true (including A) on baritone... dunno why

I haven't tried flipping other harmonics this way yet, but it would seem a logical thing to attempt

Yes, for me jumping between the Bb bis + octave key an Bb is very hard. Good practice, I guess. Another thing that's good about this way of practicing is the fact that we are alternating between enharmonics, the same note played in two ways, a trick used for color by Coltrane, Earl Bostic and Charles Davis:

View: https://youtu.be/k6F8QS7QIWY?t=569

 

[The Z]

A lot of very good advice already.

Singing the target notes is a very good idea, because your diaphragm and throat will be close to the position you will need to produce the overtones.

Vowels will get you quite far, but the they will only get you close. You could try imagining the direction you are blowing into the mouthpiece. The higher you get, the more "from below" the direction should be. Don't really tilt your head or move your embouchure, it should all happen inside your mouth. It helps me and is another way of "getting there".

 

[6441]

Yes, there is lots of good advice here, and thanks all for that.
I can hear the notes in my head, but beyond the second partial, I don't see how I can sing the notes. Whistle them maybe, but that isn't useful. I can go as far as hearing them in my head.

 

[Caz]

I sometimes use the drone-app samvada for long tones and overtones, just punch in the taget note and try to match your own notes to that.

 

[6441]

It's a start! Thanks all!

Dropbox - untitled.mp3

 

[6441]

I found a trick that works every time on my alto:
In Bb or B, a little pressure on the RH C# roller key with the pinkie hits the 3rd partial (2nd octave above tonic) with no problem, from the tonic or either of the first two partials.

 

[jbtsax]

I found a trick that works every time on my alto:
In Bb or B, a little pressure on the RH C# roller key with the pinkie hits the 3rd partial (2nd octave above tonic) with no problem, from the tonic or either of the first two partials.

RH C# roller key?

 

[6441]

Probably D# ?

 

[Caz]

I found a trick that works every time on my alto:
In Bb or B, a little pressure on the RH C# roller key with the pinkie hits the 3rd partial (2nd octave above tonic) with no problem, from the tonic or either of the first two partials.

Hey that's cheating!

 

[6441]

Hey that's cheating!

Totally. But I'm of the school "whatever works"! I still try for it naturally and I'm starting to hear the third (fourth partial) in there is well. Sooner or later...

 

[Caz]

The overtone itself isn’t Intresting, what you do in your throat and mouth to get there is - good luck and happy sheddin’